“Pride and
\nPrejudice,”<\/FONT><\/B><\/A> Jane Austen’s “salty-tongued commentary on the plight of women
\nin the 19th century, perhaps best known today for providing Colin Firth with the opportunity to
\npose in a wet shirt in front of many grateful viewers,” has won the Women’s Watershed Fiction
\npoll.<\/P>
\nAlthough Austen’s novel was published in 1813, it struck the 14,000 voters who were polled
\n(93 percent women), according to the Guardian, as the one that either spoke most personally to
\nthem, or changed the way they looked at themselves, or simply made them happy to be
\nwomen.<\/P>
\n
But author-journalist Julie Birchill doubted the value of the poll: “I think if people had been
\nhooked up to lie detectors the winner would have been Jackie Collins.” The runner-up was Lee
\nHarper’s “To Kill a Mockingbird,” followed by Charlotte Bronte’s “Jane Eyre,” Marilyn French’s
\n“The Women’s Room” and Margaret Atwood’s “The Handmaid’s Tale.”<\/P>
\n
Burchill, who has written eight books including a biography of Princess Diana, dismissed the
\nchoice of all five novels. She was especially scathing about the contemporary relevance of “Pride
\nand Prejudice,” noting that “if Jane Austen heard women today talking about clitorises she’d
\nfaint.”<\/p>\n","protected":false},"excerpt":{"rendered":"
The (London) Guardian reports that “Pride and Prejudice,” Jane Austen’s “salty-tongued commentary on the plight of women in the 19th century, perhaps best known today for providing Colin Firth with the opportunity to pose in a wet shirt in front of many grateful viewers,” has won the Women’s Watershed Fiction poll. Although Austen’s novel was […]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[4],"tags":[],"class_list":{"0":"post-968","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-fC","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/968","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=968"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/968\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=968"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=968"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=968"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}